Director: Olivier Abbou
Writer: Aurélien Molas, Olivier Abbou
Cast: Adama Niane, Stéphane Caillard, Paul Hamy, Eddy Leduc, Hubert Delattre, Marie Bourin, Matthieu Kacou
Part of: /slash Filmfestival
Seen on: 27.9.2019
Content Note: sexualized assault, racism, sexism
The Diallos – father Paul (Adama Niane), mother Chloé (Stéphane Caillard) and their son Louis (Matthieu Kacou) – return from their vacation to find that their nanny Sabrina Bolso (Marie Bourin) and her husband Eric (Hubert Delattre) went from house-sitters to being full-on squatters. They call the police, but thanks to a legal loophole the police can’t actually do anything. Their only legal option is a drawn-out legal battle that isn’t really an option at all. So they turn to Mickey (Paul Hamy) and his group of thugs, hoping to scare the Bolsos away. But that’s really only just the beginning of their troubles.
Get In is a catastrophe in toxic masculinity with a dose of racism. I hated it.
Get In did cause me to sympathize with men. It really isn’t easy being a man in this patriarchal, heteronormative world. But instead of grappling with this complex fact where men are only allowed a thin slice of the myriad ways masculinity can be expressed, the film instead forces its protagonist to become a part of that thin slice of toxic masculinity and that’s somehow seen as a win that immediately solves all problems between Paul and Chloé. He just had to be a real man, and everything is suddenly fine.
That Paul is Black (and married to a white woman) also didn’t sit well with me. Apparently, a soft-spoken, intellectual Black man is even less allowed than if he was white. And white Mickey teaches the Black guy how to be a real guy (in a twisted way). That Black men are often judged to be more aggressive in our white supremacist society is only the icing on the cake here. It seems reasonable to assume that Paul spent his entire life working very hard to not even give the impression that he might be aggressive or angry – and that somehow means that he is less of a man.
The film sprinkles in gratuitous tits whenever it can – and honestly, the way it does it is so annoying, it almost became funny. Just like the showdown where the bad guy of course comes back one more time than you expect – even if the circumstances he comes back from are entirely unlikely. And then, just to make it clear who is boss now, he gets kicked in the balls when he’s dead to complete the emasculation.
Really, I am happy that I missed a bit of the film by falling asleep. Because the film is a complete mess with a problematic worldview and I don’t need that shit.
Summarizing: Strong no to everything.